This week I have been working on my research concepts and learning agreement for this project. For a while now I have contemplated the work I want to make. Outlined in my Learning Agreement I refer to the layered image, the use of the digital microscope and going beneath the surface. For this project I intend to use the museum as the investigative tool, to question a drawing removed from its objective state and re-positioned into a gallery space.
For this project, it is important to find the bridge between the museum and the gallery, but also equally important to experiment with the location of how I display my work. Either onsite, heritage locations, or somewhere that is not meant for the work.
The work itself is in the developmental stages of production, during a discussion with Judith, I have found that making this project more experimental for my outcomes will test the limitations of the work. It was also pointed out to me that my prints from the previous unit (ASU1) where the beginning stages of my drawings transitioning into a print.
Plan for this unit:
For SNU I had a really interesting interdisciplinary tutorial, which involved talking about our plans for the unit. During this discussion, I explained that I wanted to make this unit a more direct focus of study, the microscopic image, something that entices the viewer to the work by the scale of which they appear. I am drawn to detail as a subject, something from a distance looks small against its surroundings, until you peer and look towards it, revealing its complex details.
Through this I think it is important to explore what transition means to my practice. Why traditional processes? Why drawing / print / small scale work?
I am thinking for the complexity of this work, I want it to be accessible to others in the professional field, a publication perhaps? With this project I will be carrying out my investigations at the Norwich Castle Museum, including working with some educational teams to question the museum in the educational space. I have plans to enter various competitions and exhibitions for this unit to explore the options for my work.
In the mean time I will be working towards a series of prints and drawings.
Etching 30x12 cm
During a group discussion with Judith and some fellow peers, there where some outlining points to the project brief that I need to keep in mind for the shaping of my project:
' engage with the professional art world, through a number of platforms'
I have been thinking about this statement a lot within my research and practice. (and how it will shape the work I am currently making). For this unit I am exploring the Norwich Castle Museum, specifically paintings. I am still very concerned with the hidden and uncovering things which has lead me to the investigation of underpinnings.
But why am I so interested in paintings ?(housed specifically in a museum)
I have always been inspired by history, specifically a history of a time which I have never experienced only read about. I find that the work I make is about learning and rediscovering, and most importantly re interpreting the way the subject matter can be viewed. I am drawn towards traditional making process in a contemporary world, to learn and admire the complexity of skill, something that takes a long time to make (slow time).
I investigate these matters by looking at history locally.For instance I look upon paintings in the Norwich Castle Museum, something I have greatly admired throughout previous research, I then find out that there are layers and layers of under paintings and drawings concealed on one canvas (I want to almost make something entirely new with this).
Through this research and new technologies I am able to select my subject, crop, manipulate and transform into drawings, or etchings.
Something that Judith brought up recently in a tutorial is the subject matter of slow time, I seem to mention it frequently within past writings, and I believe this is something to explore, specifically as my subject matter explores the 17th-18th centuries. It is not clear to me yet as to what work I intend to make for this project, I am swaying towards a series of drawings and prints that play to the museum in a contemporary setting, but most importantly suggest that these drawings are selections of under-paintings.... this is something that needs to be figured out.
Why paintings? I am drawn to their mystery, their complexity, the unknown and the craftsmanship, time and how most importantly it only seems to be greatly appreciated in a museum opposed to a contemporary gallery.
Alfeld, M., Siddons, D., Janssens, K., Dik, J., Woll, A., Kirkham, R. and Wetering, E. (2012). Visualizing the 17th century underpainting in Portrait of an Old Man by Rembrandt van Rijn using synchrotron-based scanning macro-XRF. Appl. Phys. A, 111(1), pp.157-164.
Ward, R., Duncan, J. and Shapiro, K. (2016). The Slow Time-Course of Visual Attention. [online] Sciencedirect.com. Available at: http://www.sciencedirect.com/science/article/pii/S0010028596900031 [Accessed 17 Jan. 2016].
Small selection of drawings and prints for ASU2
The outlines for this unit establish a discrete body of work is to be created, alongside research files, sketchbook e.c.t... For this unit I aim to explore how and where my drawing fits into the professional art world, where it should belong, and how to get my work out there. I aim to make these two projects a combination, (meaning SNU and ASU2) because the work I am doing at the Norwich Castle museum also fuels this project. The research will look at contemporary methods of display, involving museums, art galleries and drawings. Most importantly why drawing is a focus to my practice.
I am drawn towards the idea of a publication or the writing of papers to circulate the ways my work has not been interpreted before. A booklet that is easily assessable, perhaps a film of photographic slides. Where is my work being achieved, and how should it be received by others? Thought this unit I think it is important to challenge my research theories into the unknown territory of the underpainting, through collections, how they are housed and how artists respond to them. There also needs to be a significant amount of active research happening with visits to exhibitions.
The work will be investigated and presented through display in the studio and a critical analysis that forms around this.
I believe that the focus of this unit will be analysed by how I display and interpret the work presented for SNU.
Key words: Drawing, Display, Renaissance, Exhibitions, Applications, 17th and 18th Century
Artists of interest to this unit: William Baxter Closson (drawings)
Walsh, K. (1992) Representation of the past : museums and heritage in the post-modern world [E-book + book]. London: Rutledge.
Barker, E. (1999) Contemporary cultures of display. New Haven, Conn.; London: Yale University Press in association with the Open University. (Art and its histories; Art and its histories, bk. 6).
For this first journal entry into ASU2 and SNU, I think it is important to discuss general feedback and prints I have been working of since the submission of the pervious units.
Feedback for this unit demonstrated that the work that was made alongside the general inquisitiveness of the Sedgwick Museum, was well thought out and was provided clear thinking towards my research and the outcomes that were produced. Throughout the concepts of Discourse and Exposition, working with the museum enhanced the understanding of these concepts in a professional contexts. I found working directly with the source provided excellent researched that pushed my projects to excel.
There are, of course some issues around the drawings that need to be considered and developed further, during a feedback tutorial with Judith, she mentioned that my smaller drawings are something that is well developed and are pieces that demand attention, she suggested that I should try to place these drawings on a large wall, because they are so detailed, the audience would be drawn to their detail.
The larger drawings seemed less convincing as they lacked depth, however, it was suggested that I continue with macro photography and print to create depth in my drawings which is needed for them to be engaging.
The focus on drawing is key to my practice so it is important to pursue and develop a method of 'slow time' which I mention in relation to my research of the Renaissance period and the actor of examination within my practice.
For the development of ASU2, I intend on developing the way an etching can change the initial image of a delicate drawing, by enhancing my research of local heritage at the Norwich Castle Museum, investigating old prints, paintings and lost ephemera. It is important for my practice to connect with museums, their research to further develop skills of an environment which I would like to work in.
There is not a lot of feedback for my RIPU unit, however, Susie mentioned that I keep my focus on the relationships with museums, but change up where I work, so that the pieces are not repetitive. It is important to keep developing the relationship between museology and drawing and how the drawing can develop a depth to them that allows a new level of scrutiny. It is important to keep developing this level of inquiry, and even write some journal articles as there is so much to write about on this subject.
For the work itself I was adamant that a level of museum display is what was needed for this work, it all seems a little bit too cliche, I need to develop a way of display that enhances the work from the environment it came from, not place it back.
Development of this needs to be explored further for the development of my practice.
No.1 Artists Proof, with annotations. No.2 Ghost Print No.3 Artists proof with aquatint
I decided, after hand in that I wanted to keep developing my drawing skills through etching and I found this the perfect time to work on some plates that are bigger than what I have worked on so far. Combining all the skills that Jessica has taught in the workshops I began working on some hard ground plates, to create delicate,prominent lines which a soft ground plate would not do. Above shows a three step print which still needs some development as the image is very multi tonal.
Below illustrates some images of the next prints I aim to work on:
This week a lot has happened, I have installed my work at the Sedgwick Museum of Earth Sciences and started working on a larger dot piece for submission. Firstly I will explain the exhibition at the Sedgwick Museum. As documented in a file (see ASU1 submission) I have been working on a series of drawings for the past two months, setting up studio in the Chalk Seas collection of the Sedgwick Museum. Resolving this project and the thesis of my work, I have tried to get my work in the museum and compare environments to the contemporary art gallery. I think for this project I have tried to work towards a resolve that is a bridge between the museum and the gallery, to question where my work fits in and how I create a museum environment outside of the museum context.
Artefact, an exhibition I have been working towards this is a series of drawings that encompass the act of looking closer and looking beyond the objects we visualise in cabinets. For a while now I have searched through locked draws just beneath the permanent collections to find small curiosities that are often disregarded and placed into storage. I have been remarkably inspired by renaissance drawings and Dr. John Woodward, who encouraged the teaching of these objects and to observe their contours through drawing. Through renaissance drawing, I have been inspired for the way they are presented in museums, for instance the Curiosity exhibition at the Norwich Castle Museum depicted Da Vinci's drawings through plains of glass so that the viewer could be enticed and look at the drawing from both sides. Taking these concepts I wanted to apply them to the work that I would be showing at the museum. Firstly a a few slight problems came up through the making of the work:
I think for future developments of my work within the museum context, I would like to continue working with the Sedgwick Museum and continue to question how I can get my work back into the professional art gallery without it being a gimmick to the museum. Mark Dion is a good example of this, I enjoy the making of his work and the archaeological digs of places that are often disregarded, but I almost want to create a display cabinet that is a shadow to the museum and conforms to the gallery space. I believe this is something that I am going to continue working towards for my next unit and even the masters project.
Drawings located in the Sedgwick Museum of Earth Sciences
I felt it was important to leave the original logos to give a sense that these drawings are part of the collection.
This week I have also been working on a larger piece of one of my supporting works (that I have also submitted for the John Ruskin Prize) because I remember a tutorial I had with Paul and he mentioned something wonderful which got my thinking, because my drawings are on such a minute scale, how about changing that up by working bigger but creating the same illusion. What I want for these works is from a viewpoint the piece looks like a drawn object, but when you look closer you can see that the image is built up with hundreds of tiny dot markings. I want the audience to scrutinise this work, like I have with the object it is based upon. Below illustrates the work in progress: '6 Hours'
Cabinet Magazine, (2013). CABINET // Exhibition / “Curiosity: Art and the Pleasures of Knowing”. [online] Available at: http://www.cabinetmagazine.org/events/dillon_curiosityartandthepleasuresofknowing.php [Accessed 6 Dec. 2015].
Sedgwick Museum, (n.d.). Sedgwick Museum of Earth Sciences - History. [online] Available at: http://www.sedgwickmuseum.org/index.php?page=top_history [Accessed 6 Dec. 2015].
Royalcollection.org.uk, (n.d.). The Drawings. [online] Available at: https://www.royalcollection.org.uk/exhibitions/leonardo-da-vinci-anatomist/the-drawings [Accessed 6 Dec. 2015].
This week for research into practice I have been working on my research report, making sure everything is coherent and concise as written work often gets me a little flustered which unfortunately is reflected in my poor writing skills. Never the less I have kept my research report as simple as possible, writing about my investigations in the museum and then writing about my outcomes (the physical work) so I can reflect on the research and practice. (split into two sections). Alongside the research report I have also been working towards some plans for future projects, including the cabinets I aim to make. Including object impressions, drawings and models that illustrate smaller versions of my cabinets. During this process I have also thought about the white cubed setting and how my work could fit within the gallery space (I have some drawings of these plans located with RIPU submission) for this I have created a small model a box that I aim to transform into cabinets or draws of which when opened, drawings reveal itself, here are some images shown below of the box:
The aim for this project is to promote audience involvement within museum collections, to get viewers thinking about things beyond the artefacts they are looking upon. I am not sure wether or not I want the work to be participatory at the moment, I imagine working on this further and testing out ideas and can work out where to go from there. During the research process, I very much want the cabinets to be a focus on drawing. Which is why I have been inspired by 17th Century Wunderkammer's, the National Gallery and the British Museum where they keep the the very traditional historic way of display. These displays often remind me of the Bowes Museum in the town of Barnard Castle, where I would often visit when I was younger was always inspired by the way objects are displayed and squashed together.
For RIPU I am still engaged in the traditional methods of working, inspired by etchings of Louise Bourgeois and Durer where there is something so rare and precious about them that captures my attention to explore these concepts further.
It seems fitting to my work that I continue to work in etching and to spend some time mastering the craft, which is something I intend on working towards after submission as due to its complexities and time frame I will only be able to show works that I am working towards. For the next few weeks whilst the university workshops are open I intend to work in the etching workshop on different etching processes, to create larger prints but to also question their rarity and worth.
Thebowesmuseum.org.uk, (n.d.). Conservation. [online] Available at: http://www.thebowesmuseum.org.uk/en-gb/collections/conservation.aspx [Accessed 6 Dec. 2015].
www.rendermonkey.com, w. (n.d.). Wunderkammer: A Century of Curiosities. [online] Moma.org. Available at: http://www.moma.org/interactives/exhibitions/2008/wunderkammer/flashsite/ [Accessed 6 Dec. 2015].
This week I have been working towards the installation of the interim show at NUA, a crucial point in my practice showing the current things I am working on, in relation to the title, LIMINAL. (for assessment purposes I have a critical evaluation located in a research file and in ASU1 documentation) Setting up an exhibition or every exhibition I have done to date has aways been a learning curve, for instance I have never displayed a large piece of work before, a split baton was needed! (and in my opinion looked very sophisticated once displayed in the gallery). This piece had to of been one of my most liberating pieces, I have challenged myself working with projections, colour and scale. For this interim piece I was greatly inspired by Giuseppe Penone drawing the Imprint Series, where he would project a small piece of a thumbprint and re draw it on a large scale. This really got me thinking how I could incorporate some of my Sedgwick drawings into my other projects, and it came to the laborious nature of choosing a small fragment of a larger drawing to produce this Liminal piece.
Below shows detail of Pulverum Particula 4.3
A piece, if viewer is intrigued to find out what the drawing is, need to translate the information (A form of discourse and exposition)
During a critique there were a few helpful suggestion that perhaps I need to consider:
Overall, the purpose of my drawing is to analyse the history of it, from the renaissance period to John Ruskin, where drawing was a form of recording elements and museology objects. If anything, I would like to see these prints and even the plates in a cabinet of their own, a carefully constructed structure that conforms to the museum as well as the gallery.
For RIPU this week I have been analysing my concepts for the research report. I have been engaged in a lot of reading around the purpose of drawing and its archival qualities. I have decided that this is someone crucial to write about. The majority of my research report mirrors the investigations I have undergone throughout my experiences working with the Sedgwick Museum. For this I aim to write chapters around the museum aesthetic, hidden objects and how curators choose what is valuable to their collection.
This week I have also been working on some boxes, a plan for bigger works which I need to map out to get a bigger picture. At the moment I am battling with the museum and the gallery, finding a bridge in-between, as I aim (for future works) to construct my own cabinets for my drawings to be displayed. For this I have been particularly inspired by Jessie Brennans 'The Cut, 2011 where she places a drawing sized 29.7 x 504cm in a long cabinet. This thinking has lead me to where my research fuels my practice, and for this unit I intend to submit a box that houses a collection of drawings, that when strategically placed make a longer and bigger image. They aim to be presented a small rarities, and should be when handled , be in a controlled environment held with gloves.
Susie mentioned in a tutorial I had recently that I may need an instruction on this box so that audiences know how and if they should open it. Here are some bullet point suggestions that I need to work on:
Barker, E. (ed.) (1999) Contemporary cultures of display. New Haven: Yale University Press.
Brennan, J. (2015) The cut. Available at: http://www.jessiebrennan.co.uk/the-cut/ (Accessed: 29 November 2015).
Perry, G. (2015) Playing to the gallery: Reith lectures, 2013. United States: Blackstone Audiobooks.
This week I have been working on the the concept of my work and how it translates to audiences. I recently had a tutorial with Paul, and one of the main points of discussion was how the images of the work can be too fragmented, is this what I want for the work? For the audience to be engaged in an investigation or to reveal the obvious?
Personally I think the obvious is too easy, there needs to be intrigue, a lead up to the final image? Laurence, a peer at the university suggested that a trail would be interesting to the work, small fragments of drawings that lead up to the bigger image (the actual object, or in this case dust fragments). I have also been thinking about the terms of language for the titles of the work and how they would be reviewed to an audience. Thinking more about discourse and exposition, I think it would be interesting to play on the lost language of Latin, as I have noticed when investigating museum collections they are translated into latin, something which I have to translate to understand the meaning of the object. Latin is something that is not learned in general education anymore, therefore I think it would be interesting to present a title for my interim piece in a language which the viewer will have to translate to find out exactly what it is they are looking at.
With this thinking, I have been working on a series of drawings that change the way I work with pencil. Working with inks and watercolour pencil to create an illusion of the drawing, a distorted image, a recreation of drawings I have already made, transformed through an new medium. With this i decided to create these small drawing/ paintings and I hated the outcome as they looked very painterly, and resonated space odysseys (something which is interesting, but not for the outcome of my work) with that I began investigating way of which I could transform these images, and macro photography was a keen interest.
Below I have created some images of macro photography from my paintings, they create an illusion of a landscape. I have taken photographs of different points of one singular drawing, and with the inverted image they all piece together into a final outcome (mirroring the way 17th Century Paintings are displayed, see Collection of Art and Curiosities by Frans Francken II 1581 - 1642 ).
Drawing through a Macro Lens (before inversion)
Edited and Inverted through photoshop
I really find these images interesting to my practice, they transform an ordinary image into something else. They present a duel meaning of intrigue which I am hoping to achieve in the outcome of theses works. I think as the deadline is so near, that these works are something to expand on and push further I aim to create more sketches of possible ideas and exhibitions which will further push the concepts of my practice. (More is yet to be defined, this is the beginning stage)
This week for RIPU, I have been working towards my research report - outlining a title and the main points which I aim to discuss. It is hard to accumulate 2000 cohesive words into such a small text when they subject I aim to write about is huge. I have a title (which needs development) which I am working on: Archiving: How identified hidden objects in the Sedgwick Museum of Earth Sciences create a focal point on neglected spaces.
Through this research report I aim to discuss my investigations through my time drawing at the Sedgwick Museum of Earth Sciences, including the purpose of an educational museum, artist involvement and why drawing has suddenly stopped in the museum itself. (Technology is overriding the archival system)
For practical work this week, I have been engaged in a etching workshop a traditional method of working which I have wanted to do for some time now. For RIPU, I am currently working on a box which will hold a publication I am working towards holding all the findings from museums. These aim to present acts of previousness, and rarities. This got me thinking about the copper plate with etching, as seen in the Norwich Castle, copper plates are often on display, whereas the print is not. I find this utterly fascinating.
With this workshop I aim to create a series of copper plates ready for etching, and set inside a box, wrapped and safely deposited in a box of curiosities that when opened make a large image. For this publication that I am working towards, I aim for the viewer to investigate the qualities of the work that was involved by folding out the pages and scrutinising the images.
Here are some of the prints I made from the workshop:
1st Copper Plate Etching and blue Ink
For RIPU I am engaged in some crucial readings for my research report that also capture qualities of the work I am making:
Garner, S. (2008) Writing on drawing: essays on drawing practice & research . Bristol: Intellect.
Foucault, M. (1970) Order of things : an archaeology of the human sciences . London: Tavistock.
Lang, C., Reeve, J. and Woollard, V. (2006) The responsive museum : working with audiences in the twenty-first century. Aldershot: Ashgate.
Work in Progress
For the Sedgwick Museum of Earth Sciences
This week I have been thinking back to a recent tutorial with Paul, on the placement of my drawings and who I want to view them. For a while now, I have been making work for the museum institution as I believed this is where I would like my work to be shown. Expanding on this, I have recently had the opportunity to show some work in a contemporary setting in a small gallery, located in Norwich,Thirteen A - to test the expansion of my work to a range of wider audiences.
I have found that with the white cubed setting, the work appears to be less cluttered, crisp and clean - a breathing space for the drawing itself to speak. From this experience I have noticed that the audience appears to be more engaged U.on the days that the show was open, I had visitors mention that the drawings look like landscapes, that they could almost be objects themselves. REMNANTS, was a show that so far explored all my thinking on the value of the object including the phenomenology of perception (see RIPU for further explanation of this project) combining both ASU1 and RIPU.
For the interim show, Liminal I have been working towards this exhibition as a test, to push my thinking. With this I have been working with a range of new techniques that interrupt the fluidity of the image into something broken down and enlarged. The process of this work involves one of my smaller drawings, 5x5cm enlarged through a projector and re-drawn. I believe that through this process, it pushes the purpose of the fragmentary image (see below) where the broken spaces of nothingness draw your attention to the laborious nature of the work.
For the finish of the work, I have had a recent group tutorial with Judith and she asked me a question: does this work play to the museum or the gallery?
I think for the purpose of this work it is important for me to work to the gallery, to play with its clean image, but also encompass the theories of the museum, such as labelling, framing. The finish of this work is key, I aim to have this drawing a product of value, something that mirrors the way parchment and scrolls are displayed in a museum. With this, I explained my plans to Judith about the framing of the work, a box frame with the drawing elevated in the centre. The frame itself has to play to the gallery, therefore the finish of the frame with either be white, or a very pale grey hinting at the delicate drawing lines.
Very subtle hints of colour will be placed upon the drawing, as a way to draw the viewers attention to the sections that reveal the objects pure quality.
A main question for the my audience: is this a drawing of a 90million year old object, or dust fragments?
This week I have recently discovered artists:
Samuel Langley (sunspot drawings)
Books that I have been reading on the purpose of drawing:
Bradley, F., Spira, A. and Fer, B. (2011) Anna Barriball. Edinburgh: Fruitmarket Gallery.
Garner, S. (2008) Writing on drawing: essays on drawing practice & research [E-book + book]. Bristol: Intellect.
Zegher, C.d. (2004) Giuseppe Penone: Imprint of drawing. New York: Drawing Centre.
Work in Progress
(Interim Show) Liminal
This week for RIPU, I have been working in a gallery setting up my exhibition, a conglomeration of work in the museum transitioned into a contemporary setting. For this small show i have been exploring the purpose of the accessioned and de - accessioned object and how through drawing I can change the value of rubbish into something valued and considered a rarity.
There is something about the fragility of the drawings that drew the viewers attention to the pieces that were on show. I had often in depth conversations with the viewers about the value of these drawings and the purpose of the torn image, as these drawings were once full images worked on for 50 hours and then out of impulse torn.
Shown at Thirteen A, Norwich
I have been thinking about the framed value to the drawings and how in itself depicts the product of value of something that would be discarded.
A tutorial I recently had with Suzie, I began talking about this product of value and rarity, relating back to REMNANTS and going beyond the museum object. Perhaps explore crevices of dust? With this, for RIPU I intend to create pieces of a book, more specifically pages as there is not enough time left of the unit to have it complete and bound. Suzie suggested that if the book is not complete in time have it carefully placed in a box. With this I am working on a series of images, including macro photography of recent drawings, re printed for the purpose of the box and its fragile qualities.
Documentation of REMNANTS can be viewed in the gallery on this website, and in booklet form.
Foucault, M. (1970) Order of things : an archaeology of the human sciences [E-book + book]. London: Tavistock.
Lang, C., Reeve, J. and Woollard, V. (2006) The responsive museum : working with audiences in the twenty-first century. Aldershot: Ashgate.
The Rubbish Object.
Plus other things that have been happening this week.
ASU1 - This week I have been focused on the combination of my two projects, which include RIPU. A lot of this week has been trial and error, which include new ways of drawing. (Mostly justifying it as a medium and how it can be presented in a gallery space) This thinking had lead me to the idea of projection, by transforming a small drawing onto a large surface and re drawing it. So far during the drawing process I have noticed the way I make the work has changed enormously. There is a fluidity which I am attracted to in the final qualities of the drawing. I believe that through these findings, in relation to discourse and exposition the projection drawings create a sense of ambiguity and dialogue something I aim to include for the interim show, Liminal.
My current thoughts on the Liminal show: I am thinking more about the rubbish object and the everyday, something that evokes curiosity. Things such as dust sheets, cases and finger prints come to mind, as mostly when I am drawing the museum object I have noticed that I am attracted to surfaces. Perhaps I need to be more ambiguous and draw things that almost become a trick of the mind to my audience.
Is the subject a 90 million year old object, or just dust?
Recently I have been evoked in theories around the Phenomenology of Perception, where it is apparent to me that the audience is key in the reception of the work. Drawing in itself is a very controlled act of making an artwork, it is interesting to me that I am manipulating, distorting and creating new perceptions of objects which could be rubbish. For the interim show, I imagine that I am going to draw a projection drawing of dust sheets, some of which I have found in museum archives. Areas of which will be pin pointed, faded and manipulated to look like old parchment, scrolls, maps, e.c.t... I want the viewer to obtain this level of curiosity so that with the drawing I create, they get a sense of the overlooked, and obtain a new meaning to the work each time the peer upon it.
RIPU - This week for RIPU, I have been working towards my solo show Remnants. This process has been challenging, as there is a quality of the work which evokes a minimal nature where it does not 'fill' the gallery with loads of 'stuff'. It is to my knowledge, a gallery show and not a show that is surrounded with quantities of artefacts such as a museum therefore, I believe for this exhibition, it is for me to test and push my ideas outside of the museum contexts.
For this show, I have been pushing together a lot of the contexts of Michael Thompson's Rubbish Theory, which test the value and hierarchy of objects found in the museum institution. I have found the torn image particularly interesting, I am often asked the question 'Does it not pain you to tear up your drawings?'
This week I have been trying to challenge and push my practice because I have felt it is becoming quite repetitive (specifically with my boundary drawings). During this time I have had an additional one to one tutorial with Judith Stewart to discuss my concerns and ideas, it is clear that I have two separate projects that combine together and mirror each other. Judith suggested that I should become experimental with my approach:
I am doing this because I want to challenge how ambiguous the object can become. The more abstracted it is the more curious it becomes. As previously mentioned in my last journal, Susan Collis frequently talks about the eureka moment, and I have been clinging to this aspect for my ASU1 project: that moment when you when you realise what the drawings is.
With this thinking, I need to change the objects that I am drawing something that connects this project to RIPU. I'm thinking about the everyday ephemeral object within the museum: sponges that protect artefacts and dust sheets. This thinking has become apparent in the new series of drawings I am working on.
Why not draw in ink to push the drawings and objects further, a new level of perception and distortion?
I have become quite fascinated by the small details of my original drawings which are intact small dust fragments from museum draws.
& Graphite Drawing
For next week I aim to push and develop the stages of my drawings, and explore its context in scale. During the developments of the interim show I am going to use this opportunity to conglomerate all my experiments by trying out something new in the forms of a projection drawing. I need to change the way I draw something, instead of it being perfectly completed.
Books I have found particularly interesting for the engagement of my audience:
Lang, C., Reeve, J. and Woollard, V. (2006) The responsive museum : working with audiences in the twenty-first century. Aldershot: Ashgate.
This week I have been working towards my solo exhibition at Thirteen A titled Remnants, which illustrates the theories of the rubbish object, its usefulness,transformed into a drawing of microscopic qualities.
(Below illustrates some work in progress that will be exhibited in the show)
Drawings in progress
The torn image
The importance of rubbish and value is crucial to my practice specifically for RIPU. For comparable values I have visited the British Museum and discovered that drawing is more apparent in there collections as opposed to the Sedgwick Museum where they are muted behind the objects.
Thinking about the work that I am going to make for this project, it is to my understanding that I need to push the developments of my practice into a wider engaging audience, which is why I am working towards a solo exhibition outside of the museum institution.
For the project itself, I am going to collect together all knowledge and findings in a published book, where rubbish comes together as valuable product. With these drawings and for the success of the book, I would like to quote visitors reactions with the drawings to illustrate their understanding.
With this project I have been reading some chapters of Museums and Popular Culture, which I think is going to be the basis of my research report, questioning the values of objects, their status and importance. But also a critical evaluation of artists and the museum, where they fit into the institution. Next week for RIPU, I am going to think about the drawing in the terms of the sculpture, as I think the crumpled nature of a drawings is quite fascinating.
This week for ASU1, I spent one day drawing at the Sedgwick Museum of Earth Sciences placing my work within the hidden collections and continuing with a drawing in situ (see below). I am doing this because I want to challenge my process with drawing and the act of perception (specifically aimed at audiences). Through this process, I go through locked draws choosing objects with historical significance, but also markings that cannot be captured by a camera lens.
Mostly because with the trained eye, you can visualise what you see. Scrutiny is key when drawings these objects you can capture all the little details through drawing. Whereas (from my research and practice development) a photograph becomes slightly insignificant, as a photograph is capable of capturing the whole object, and the details almost become blurred. Through this thinking I have decided that my ASU1 project resides around the act of perception of looking closer. This relates to the concepts of Susan Collis' practice, as I aim to question the interpretation of object and how I as the artist can present them differently. This thinking has lead me right back to the 17th century, where the first natural history illustrations were made under the influence of cabinets of curiosity and Darwin's voyages. This was a method of recording the most important details of a species or specimen.
From this I have been experimenting with my drawings and the amount of detail to present to the viewer. The Responsive Museum is proving to be a critical text for my practice, in particular with the title of this unit: Discourse and Exposition, where this book illustrates how to engage collections with audiences of the twenty first century.
This week I also had a tutorial with Paul Fieldsend - Danks, and it proved to be very tough (perhaps this is what was needed) there are so many things that I need to think about such as exposing my work, and get some sort of feedback on it.
I think for the past couple of weeks I have not been so sure what work I want to make for my RIPU unit. A lot of my research centres around the politics of value in the museum institution, specifically Michael Thompson's Rubbish Theory and Baudrillard's, System of Objects. With this I have planned an exhibition at Thirteen A, gallery in Norwich to test and expose my work to new audiences (outside of the museum). Value and the torn image has become crucial to my practice. I have been thinking about previous exhibits at the British Museum and the Natural History Museum, where they display broken pieces of parchment, depicted as rare and valuable to the collection. This is where my thinking comes in. The object hidden in the museum space is presented through drawing and then translated through gallery exhibitions, giving the object purpose and value. The drawing is torn like a puzzle for the audience to piece together, and reach that eureka moment (in reference to Susan Collis). To signify objects importance from the 17th century to the 21st. RIPU intends to explore how a drawing has the power to record details we cannot see through different lenses and forms of drawing experimentation. The surface of objects presented through a torn image changes the value and worth which is something I intend to investigate. It is a transient object, something in-between rubbish and value.
Things to question for RIPU:
Baudrillard, J. (2005) The system of objects. Revised edn. London; New York: Verso. (Radical thinkers, 3).
Ikon Gallery. and Collis, S. (2010) Since I fell for you. Birmingham: Ikon Gallery.
Thompson, M. (1979). Rubbish theory. Oxford: Oxford University Press.
Drawings in Situ
RIPU - Work in Progress for Thirteen A - The Torn Image
Exhibition Title: 'Oh'